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Choral Reviews
Choral Reviews

Compiled by Marques L. A. Garrett

By the Waters of Babylon vertical conceit, syllabic English text, a steady larghetto
Samuel Coleridge-Taylor tempo, and minimal polyphony—all traits that allow
SATB, solo, organ for greater ease of learning. There are various unison
Novello, 1899 (5:30) and octave passages. The only divisi passage occurs in
the alto voice for two measures (see the phrase “in my
mirth”). The overall tonality consists of harmonic mi-
nor sonorities, occasionally interspersed with major
passages. For example, the text “as for our harps, we
hanged them up: upon the trees that are therein” is
a brief tonal respite in G major, perhaps remember-
ing the joyful music made in the past. While transient
Coleridge-Taylor’s By the Waters of Babylon follows unaccompanied chromatic segments occur, the organ
the Anglican tradition of “full” and “verse” passages, provides colla parte support during the more chromatic
allowing for soloists and the full choir to shine in in- sections.
dividualized sections. The emotional content of this What choirs might program this work? The organ
anthem expresses lamentation and sorrow. The text, accompaniment suggests that church choirs would find
drawn from Psalm 137, depicts the exiled Jewish na- this anthem a compelling addition to their services.
tion sitting by the streams of Babylon, mourning their However, advanced high school choirs and honor
lost homeland. The dynamics display a broad range in- choirs are also well-equipped to learn this piece. There
fluenced by the emotions of the text, with one striking are plenty of opportunities for dramatic interpretation
exception at the end of the work. Coleridge-Taylor sets that young singers would be thrilled to undertake. Dis-
the concluding text, “Blessed shall he be that taketh thy playing themes of oppression and displacement, this
children, and throweth them against the stones,” with piece could be paired with Palestina’s Super Flumina Bab-
a piano dynamic. This choice of a quiet conclusion ylonis or Moira Smiley’s Refugee. Church choir directors
might reflect the solemnity of the text, praising victory may find this piece to be a challenging undertaking for
at the expense of innocent lives lost. volunteer singers; however, with ample rehearsal time,
Coleridge-Taylor’s choral writing provides great this anthem is achievable and a powerful addition to
accessibility for choirs. By the Waters of Babylon features the liturgical programming of Psalm 137.

24 CHORAL JOURNAL June/July 2025 Volume 65 Number 9